First Published in the United States of America in 2018 by Rockstar Publishers, a member of Rockstar Games inc. New York City, New York, U.S Beverly, Massachusetts 019156101 Telephone: (987) 282-9590 Fax : (987) 283-2742 www.rockstar.com Visit rockstarpublisher.com to share your opinions. All rights reserved. No part of this book may be reproduces in any form without written permission of the copyright owners. All images in this book have been reproduces with the knowloedge and prior consent of the artist concerned, and no responsibility is accepted by producer, or printer for any infringemen of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing infoemation in a subsequent reprinting of the book 10 9 8 7 6 5 4 3 2 1 ISBN : 987-1-59253-872-0 Digital Edition Published in 2018 eISBN: 978-1-61058-943-7 Library of Congress Cataloging-in-Publication Data Available
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Artist Icon
Roy Lichtenstein one of the most influential and innovative artists of the second half of the twentieth century.
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Mengupas kehidupan Lichtenstein sejak ia lahir
Mengupas kehidupan Hoyt Sherman yang sangat membantu Roy dalam berkembang di dunia desain.
Mengupas kehidupan Lichtestein semasa ia belajar di Ohio University
Menceritakan awal mula pertemuan Roy Lichtenstein dan Hoyt Sherman hingga menjadi teman baik
Menampilkan karya Roy Lichtenstein dan Quotes.
Menceritakan perjalanan hidup Roy Lichtenstein dan menampilkan Karya.
Menampilkan quotes dan Illustrasi karya Roy Lichtenstein
Menampilkan quotes serta Masterpiece dari Roy Lichtenstein
Here to Create
Gallery
Imagination
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A Message for you
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Hoyt Junior
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Ohio University
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Hoyt Sherman
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Lichtenstein
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Dedication : To our next generation
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“Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.’’
Roy Lichtenstein
Roy Lichtenstein, the one who introduce pop art to the world Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings
prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), Roy Fox Lichtenstein was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement.
His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-incheek manner.
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“Art doesn’t transform. It just plain forms.” Hoyt L. Sherman (1903–1981) was an American artist and professor. He is widely credited with having a serious influence on the work of Roy Lichtenstein, who was a student of his during the forties.
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Hoyt Sherman
Hoyt Leon Sherman was born in Lafayette, Alabama. As a professor in Fine Arts at Ohio State University, he employed the “flash room”, a darkened room where images would be briefly flashed onto the screen. The students were then to draw what they had seen. This method of grasping an image by copying it would later be cited by Lichtenstein as having had an influence on his work. Hoyt Sherman was also known for his work with optics in the field of visual art, developing a theory similar to Hans Hofmann’s “Push and Pull.” Hoyt Sherman had other notable students including e.l. sauselen and Larry Shineman, who both also went on to teach at Ohio State University in the Fine Arts, and Deborah Beetham-Ford, who taught art in high school, at Ohio State, and at Otterbein College, where she was Acting
Director of the Art Department during Earl Hassenpflug’s absence, as well as employing Sherman’s techniques in her works. Earl Hassenpflug, director of the Otterbein Art Department, and professors JoAnne Stichwey and Al Germanson, who continued
teaching Sherman’s “Flashlab” until his retirement, were also students of Hoyt Sherman. His research and methods were also utilized during the Second World War by the United States Navy and Army Air Corps as a means of teaching pilots and gunners to quickly identify
Aircraft as friendly or enemy, while his “camouflage room” taught them to identify targets for bombing, despite the enemy’s attempts to hide them, and to develop techniques to better conceal potential U.S. targets. In 1866, Major Sherman was a member of the House of the Eleventh General Assembly where he was chairman of the committee on railroads and a member of the committee of ways and means. In 1886, he was one of the founders of the Pioneer Lawmakers’ Association and was one of its most influential members, serving as president and long a member of the executive committee. He contributed valuable historical articles to the Annals of Iowa on “w
Sherman married Sara Elvira Moulton on December 25, 1855. One of their daughters, Adaline Moulton Sherman, was married to Frank Bestow Wiborg, and their children included Mary Hoyt Wiborg and Sara Sherman Wiborg.
Roy Lichtenstein
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I think that most people think painters are kind of ridiculous, you know?
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Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on longterm loan to the Museum of Modern Art, was his favorite painting.
Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.” Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945.
As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, ichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949,
He married Isabel Wilson Sarisky (1921–80), Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU.
Roy Lichtenstein
Founded in 1870 as a landgrant university and the ninth university in Ohio with the Morrill Act of 1862. the university was originally known as the Ohio Agricultural and Mechanical College (Mech).
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In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, Intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial
art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.” Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland.
Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed Lichtenstein did not continue to teach at the university level. He had a series of part-time
Jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors
Roy Lichtenstein
To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state.
He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career.
Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint. Across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comicbook characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions.
Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program and when Neal needed to add a faculty member to his department,. Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment.
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Roy Lichtenstein
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With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter.. The dots became a trademark device forever identified with Lichtenstein and Pop Art.
Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Shermaninflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing.
Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by TheEngagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these
canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960.
Roy Lichtenstein
Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol
and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious.
By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together
Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials,
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Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and threedimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture.
Picasso’s always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
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He already created something powerful for this world
it’s time for you to create!
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